Handlin' Balls Like Stackhouse - Big Kwam

In response to a request from Seriousbiz, I'm throwing up another 12'' from my collection. I first stumbled across 'Verbalise' on the final installment of the 'Hip Hop Don't Stop' series that brought together some of the best cuts from the preceding compilations and let DJ Prime Cuts work his magic on them. I always liked this track and had forgotten about it until recently, and it has only been with a brief bit of research over the last day or so that I realised its strong UK connections: here's the rundown...

Unfortunately, it doesn't look like Kwam made much impact on the scene, with only a handful of 12''s to his name and a couple of appearances on various compilation albums. This is a shame, as he is lyrically strong, with lots of internal rhyme schemes and a tight and relatively aggressive flow (he reminds me a little of O.C. at times). 'Verbalise' is the standout on this slab of wax, a Spinna produced cut that has a dark and moody vibe along with some exceptional scratching from my favourite UK DJ, Mr Thing (UK connection number one). Honestly, the cuts at the end of this track are excellent: highly technical but definitely funky. The flipside is less interesting, but still a nice joint produced by The Creators (UK connection number two). I like the tight snares and glockenspiel sample, and as with 'Verbalise', Kwam does a nice job on the mic.

Two things surprise me about this 12''. Firstly, this was released in 1998, but very successfully captures the essence of hip hop in the earlier '90s. If I had been asked to guess the year that this was released on a first listen, I would have certainly shaved at least a year or two off the actual release date as this slipped into the Prime Cuts mix easily between KRS One's 'Sound Of Da Police' and the Beatnuts' classic 'No Equal' (I just checked for that mix on Amazon... $125! I'll throw it up soon: who pays that for a CD?). Secondly, what the hell happened to this guy? With such a promising 12'' release you would have expected at least a full LP at some stage, but unfortunately this was obviously not to be. Any information on his current whereabouts will be much appreciated.

I have his earlier 12'' with PB Wolf on the boards and the mighty Q-Bert on the cuts from '96, but I'm pushed for time with work commitments at the moment so you'll have to wait. Perhaps I'll put it up with the Prime Cuts mix later in the week: peace.

Big Kwam - Verbalise b/w Capacity Blown

Keep It Simple Stupid - Diamond D Sample Flip

After compiling my 'Top 25' list, I've been compelled to get back into some of the albums that featured that I haven't listened to for a while including 'Stunts, Blunts & Hip Hop', Diamond D's masterful debut. Although I am not generally that up on sample sources, I did 'borrow' a record from my Dad several years ago that is used on 'K.I.S.S. (Keep It Simple Stupid)' and thought it would be interesting to discuss the way in which Diamond D utilises the break (to his credit, this is co-produced by Q-Tip). Interestingly, this was one of the songs on the album that passed me by when I first got it, sucked in by the brilliance of more obvious standouts to the detriment of some of the other cuts on the album. I remember playing 'Tiger Woods 2003' with my friend Al when we first fully appreciated this particular song, and it has subsequently become one of my favourite joints on this fabulous record.

I'm not going to pretend that I know an awful lot about Weather Report other than the fact they are a relatively well-known group in the jazz/rock/fusion era of the late '70s, so check out this link for a more detailed round-up. The part of the song to focus on begins at 1.35, with a breakdown from the relatively hectic soundscape that precedes it into a more stripped down break that leads into the saxophone section that floats in at around 1.54. The break, before the introduction of the sax, is comprised of three key layers: drums, bass, and although I can't be sure of the final element (much to my frustration), I assume it is the second bass guitar with some kind of filter applied. For those of you who may be interested, the instrumentation and musicians featured on the track breaks down like this:

Wayne Shorter: Tenor and soprano saxophone
Auger James Adderley: Vocal
Josef Zawinul: Rhodes piano and synthesizer
Miroslav Vitous: Bass
Alphonso Johnson: Bass
Ishmael Wilburn: Drums
Dom Um Romão: Percussion

What I appreciate about 'K.I.S.S.' is that it does exactly that: keep it simple. I may be wrong, but it seems to me that this is the one and only sample source for this cut apart from the two half bar vocal samples used in the chorus section. The warmth of the bass and the complexity of the percussion work incredibly well together, and I particularly like the double cymbal crash that completes each bar. I like to imagine D Squared c. '91 in front of his SP 1200 chopping this break up with Q-Tip by his side and rearranging it to suit their purpose: pure and unadulterated hip hop from a time now sadly passed.

It seems amazing to me that in the liner notes to the album this sample isn't even credited, as it forms such a core component of the subsequent song. Whether this is simply the result of a more relaxed approach to the legal side of the industry at the beginning of the '90s I don't know, although I thought that sample clearance issues were rife at this stage in the genre's development. Whatever the reason, 'K.I.S.S.' and 'American Tango' are both dope: hit the link and enjoy.

'American Tango' & 'K.I.S.S' - Diamond D/Q Tip sample flip

[Note: For all you sample freaks out there you will notice that 'American Tango' was also used by DJ Ogee on O.C.'s ''Can't Go Wrong'... check the science!]

Warning: List Making Is Bad For Your Health

I don't want to bore anyone with my rambling personal bullshit, so I'll keep this brief. If you are planning to compile a 'Top 25' list be wary: I haven't been able to stop thinking about mine for 24 hours. 'Should have I included that?', 'but what about...', 'how could I forget!': honestly, I'm concerned I may not be able to let it go that quickly. I'm not going to change anything or nominate those that didn't make it as that kind of defeats the point of the list in the first place, but be warned: you may experience some forms of stress in the process.

Check in tomorrow for something a little different here at FDB. I promise I'll leave it with the list for now...

Top 25? I Want A Go!

With prompting from Passion Of The Weiss, Straight Bangin’ and various other blogs that have thrown down the gauntlet, here is my list detailing my favourite 25 albums in hip hop history. I wanted to play this all cool and simply nominate the first 25 that came into my head (with a little tinkering), but inevitably the geek in me has taken over and I have toyed with the selections and ranking for quite a while, much to the detriment of my day job…

As with everyone else who has been taking part in this mass blogger ballot, I feel it necessary to preempt any backlash with a few clear ‘disclaimers’:

1. These are my favourite albums: this is not a list of the most important albums in hip hop history.

2. The order in which these are placed is somewhat arbitrary, as I love each one of these albums for different reasons. Still, I have attempted to weigh up all the different factors and rank them.

3. I am fully aware that this list does not include anything from the ‘80s and omits several extremely important artists in the genre’s history. Please bear in mind that in 1988 I was six years old and still occasionally needed help going to the toilet. Although I would love to have been born in the Bronx in the late ‘60s/early ‘70s and seen Kool Herc spin records out in the park back when this all started way back when, I can’t be blamed for circumstances beyond my control. To all you old school b-boys and b-girls out there, rest assured that I am working my way back through the wide spectrum of hip hop and am committed to expanding my knowledge of it in all of its colourful phases.

4. If I were asked to compile a list tomorrow, it would probably be different to this one. Indeed, this is slightly different to the one that I did last night.

5. I would usually only include one album by any one artist in lists like these, but I have made an exception here… it should be obvious why.

Phew… onto the list.

1. Nas – Illmatic
Boring I know, but is there a more perfect hip hop album? Coherent, bangin’, beautiful, concise: absolutely timeless.
2. A Tribe Called Quest - Midnight Marauders
Difficult to pick a favourite from the Tribe catalogue, but ‘Midnight Marauders’ wins it for me, just beating ‘The Low End Theory’.
3. Organized Konfusion - Stress: The Extinction Agenda
This album seems to get overlooked in these type of lists somewhat, but the combination of top class beats and exceptional mic skills firmly cement this in my top three picks. Pharoah’s verse on ‘The Extinction Agenda’ is absolutely astonishing.
4. Mobb Deep - The Infamous
The production on this album is crazy, and combined with highly articulate and quotable rhymes, I don’t think anyone could front on this classic.
5. Lords Of The Underground - Here Come The Lords
This may not be everyone’s cup of tea, but I had this on a recorded tape when I was only 11 years old. Its influence on my musical tastes is unquestionable, and I still bump it to this day. I felt I had to get some K-Def production into this list as well, as I deem him to be one of the most underrated producers in the game.
6. DJ Shadow – Endtroducing…
This blew me away when I first got hold of it. It takes me back to drives with friends around London late in the evening with ‘herbal’ cigarettes firmly in hand (the London Transport Police would have been appalled). Shadow: I know you could still do it like this… please don’t desert us totally in the search for some new ish!
7. Showbiz & AG - Runaway Slave
Banger from start to finish. The beats are quality and A.G.’s rhymes easily do them justice. I would give anything to have seen them live with Roc Raida behind the tables back in the day: oh, to be a native New Yorker c. 1992!
8. Wu-Tang - Enter The Wu-Tang
So many killer tracks and such a fantastic overall coherence make this an undeniable classic. Surely this one is on everybody’s list, isn’t it?
9. Smif N Wessun - Da Shinin’
It was a toss up between this and ‘Enta Da Stage’, but ‘Da Shinin'’ just wins out due to extended play whilst I was in Chile in 2003. A great album that reminds me of great times.
10. Notorious BIG - Ready To Die
So many choice cuts and Biggie rips through verses with such an amazingly captivating style: this album’s charms are impossible to resist.
11. Pete Rock – Petestrumentals
The first Pete Rock installment on the list. This may not be his most celebrated work, but this is a pure, funky slice of Pete Rock genius without any rhymes to get in the way. I don’t think I’ll ever get bored of ‘Pete’s Jazz’: despite thousands of plays, I just can’t kill it.
12. Diamond D - Stunts, Blunts & Hip Hop
One of the first true crate digging albums featuring brilliant production and enjoyable rhymes. Granted, D Squared ain’t the tightest on the mic, but I like his laid back flow and it complements the beats here perfectly: this still feels fresh and it’s fifteen years old.
13. OC - Word...Life
The Buckwild numbers are particular favourites, but the album as a whole is exceptional. OC is without a doubt one of the best MCs in the genre’s history. ‘You lack the minerals and vitamins’: the hairs rise on the back of my neck every single time.
14. INI - Center Of Attention
A double dose of the Chocolate Boy Wonder at numbers 14 and 15. This is such a great album with some of Pete Rock’s best production work as well as some great verses from Rob-O and Grap Luva.
15. Pete Rock & CL Smooth - The Main Ingredient
Honestly, I really struggled to not include their debut as well, but this is my favourite of the two albums and this list is already a little bit Pete Rock heavy (can you blame me?).
16. Pharcyde – Labcabincalifornia
‘Runnin’’ goes down as one of my favourite cuts of all time, and although I know most people feel differently, I prefer this to their debut. Dope beats and a more mature lyricism make this a wonderful album.
17. Rawkus Presents Soundbombing II
OK, so not an ‘album’ as such, but it’s my list suckas. I was in sixth form, Rawkus was flying high and although I had been listening to hip hop for years, it was around this time that I started to take it more seriously, placing a foot firmly on the ladder towards my current geeky state. The intro juggle to ‘1-9-9-9’ is one of the most amazing pieces of turntablism I have ever heard.
18. Mos Def - Black On Both Sides
Similar reasons to ‘Soundbombing II’, but this is not to take away from the quality of the album. ‘Umi Says’ is being played at my funeral (although the ‘I want black people to be free’ line at the end might seem a little strange at a white, middle-class North Londoner’s farewell bash: fuck it).
19. Genius - Liquid Swords
Another album that I had on tape when I was still in the very early stages of my obsession with hip hop. I remember coming home from my parents’ friends’ house in the summer and rocking this on my walkman. Easily my favourite Wu solo effort.
20. Gangstarr - Hard To Earn
Very difficult to pick a Gangstarr favourite, but this wins it because it was the first album of theirs that I really got into. The best DJ/MC team in hip hop history?
21. Jay Z - Reasonable Doubt
I remember listening to this on a school trip to Hadrian’s Wall in the north of England and other people taking the piss out of me for it (I don’t think Finchley, North London was quite ready for Mr. Carter in ‘96). I didn’t care: I loved it then and I still love it now.
22. Common - Like Water For Chocolate
I probably prefer ‘Resurrection’ but this was another seminal album in my sixth form years that cemented a love for hip hop and made me hunger for more in a way that I hadn’t done previously. I also caught him with a full live band on the tour that year, and it was one of the best gigs I’ve ever been to. For this reason, I’m nominating this fantastic album instead of the indisputable classic, ‘Resurrection’.
23. Main Source - Breaking Atoms
I was so surprised when a discussion on my blog revealed that some people don’t see this as a classic, as I think it’s incredible. Great, great beats, and although Extra P may not have the greatest flow in the game, I think he deserves more credit for his mic skills than many are willing to offer.
24. Naughty By Nature - Poverty's Paradise
By no means would I expect this to be deemed a universal classic, but once again, this is an album from my youth that carries personal significance. I used to love playing ‘Lemmings’ and rocking out to ‘Craziest’. How my parents despaired…
25. Da King & I - Contemporary Jeep Music
Although this is only something that I have gotten into relatively recently, I’m chucking it in there because it is one of the only albums that I have acquired in the last five years that has genuinely blown me away. I can’t believe that this is not more widely appreciated, as it is an album of incredible beats and wonderful rhymes that includes absolutely no filler. How many albums can you say that about?

There you have it. I can hear the cries of ‘what about PE?’ and ‘are you kidding: no De La?!’ resonating across cyberspace already… deal with it. I’ll look forward to seeing the final results go up at Straight Bangin' and Passion Of The Weiss. If you haven’t compiled your own list yet then get on it: the more people that take part, the more complete an overview we will end up with. Unleash the geek: you know it feels good…

Sconeboy's 12'' Selection - Fondle 'Em Records

Fondle 'Em Records: probably the best underground record label in hip hop's history. Set up and run by the infamous Bobbito Garcia, the first release on it was in the form of the Cenobites EP - a collab between Kool Keith and Godfather Don. Since then it has released music from the likes of MF Doom, MF Grimm, Siah and Yeshua, KMD and countless other underground heads. It is now defunct, with many of the releases being unavailable and out of print, and some, such as the Siah and Yeshua EP, are collector's items. I've picked three 12''s to review which (I hope) are lesser known. Someone requested the Lord Sear 12'', so I stuck that up on here. The DJ Eli 12'' and the Grimm 12'' are both bangers, and well worth checking. Seek out these 12''s if you can, but beware, some are harder to come across than others.

DJ Eli - And So Kiddies b/w Truly Gifted Ones

Part of the Cloudkickers crew, Eli has produced beats for a number of people, including Ill Bill and also MF Grimm as well as this 12''. I must admit that outside of this I don't know much about his production but on this 12 it is mint. The a-side features the great MC Cage: this is a typical Cage affair with his involved rhyming complementing Eli's beat very well. However, Cage is not really an MC who has ever grabbed me overall; I'm more a beat person than a rhyme person so I don't really feel suited to judge this track. However, The b-side, is the winner. A great headnodding beat, again crafted by Eli, runs with three MCs - Yeshua, J-Treds, and Pumpkinhead. The trio trade verses on a track which as well as being considered 'underground' manages to go off well in a club too: the snare snaps hard on this! To finish off the 12'', there is a great instrumental piece called 'Lay Puzzled', utilizing a sample from Nas's 'NY State Of Mind' as a hook. Overall, this 12'' is great, however the b-side is definitely the winner.

Lord Sear - Alcoholic Vibes b/w My Hindu Love

Lord Sear became well known on the Stretch Armstrong show for his freestyle segments and general chit-chat during the '90s. He popped up every now and again, freestyling to whatever Stretch felt like. He steps up from that for this 12; although I'm sure this is all freestyled, it is a studio recording and what a recording it is. Like many records, one side is better than the other. 'My Hindu Love', performed by his alias 'Stak Chedda', is pretty nice, but it is all about the a-side, 'Alcoholic Vibes'. One of the simplest, easiest beats I've ever heard but it thumps so hard. I dunno what it is, whether it's the repetitive bassline or the way the drums have been laid down, but it is impossible not to nod your head to it, or maybe even to try a little freestyle yourself! He produced all of it as well, with it being engineered by Mighty Mi of High and Mighty. This 12'' is long out of print and I copped it a while back in NYC, a very good find, as it had been on my list for ages. Seek it out (like all the records I review) if you can, and buy it on sight.

MF Grimm - Landslide b/w Tick Tick

MF Grimm (now known as GM Grimm) could perhaps be considered a legend in rap, for both his skills and also the stories that surround the dude. He hails from Brooklyn and is probably the only rapper I'm aware of who has spent most of his 'professional' career confined to a wheelchair. He suffered at the hands of a gunman in 1994, several shots to his body leaving him, at one point, deafened, blinded and paralyzed from the neck down. Although he regained the hearing and the sight, he is still confined to his wheelchair. During this time, according to his bio, he wrote the great 'Scars and Memories' in hospital. If you haven't heard that, you need to check it.. maybe I will post it up here soon. Anyway, not only contending with being confined to a chair, in 2000, he was sentenced to life imprisonment (which was later reduced) for various charges. The dude even posted a $100,000 bail for one day release to record an album, 'The Downfall of Ibliys:A Ghetto Opera'. That is hardcore!

Anyway, back to the 12''. Along with other releases, this came out on Fondle 'Em. The main track is a simple, haunting effort. Laced with a piano all the way through, Grimm comes correct. There is also a remix, and I prefer this to the original, which is also found on the 12'', produced by none other than DJ Eli. For the MF Doom fans, the b-side, 'Tick Tick', is produced by the metal faced villain and it's a typical Doom affair. DJs: I challenge you to mix this! It slows down and speeds up throughout the tune making it a very interesting listen. I much prefer 'Landslide', but I appreciate Doom doing something different.

P.S. Sorry for the record skipping on the landslide remix... shitty records!! Buy CDs! ;-)

[Dan's note: that 'Landslide (Remix)' is seriously dope. Thanks once again to the mighty Scone!]

Flea & J-Zone - Separated At Birth?

Unfortunately I don't have time for a full post today, as laziness over the Easter holidays has bitten me on the arse work-wise. Instead, I am tentatively suggesting that Flea of Red Hot Chili Peppers fame and J-Zone may in fact be long lost brothers, separated at birth only to find their own separate paths to musical fame. The similarity struck me whilst watching the video du jour, Marco Polo's 'Nostalgia'. Check J out in the chorus sections miming the scratching: replace those itchy fingers with a bass guitar, remove the man's clothes, chuck in a healthy dose of time at the tattoo parlour and pop a sock on his... you know... and I think we may just be onto something (or am I on something?).

I'll get back to it properly later in the week; hold tight for some Sconeboy drops tomorrow.

Showing Lotsa Stamina? The Don

I picked this up whilst on a random tangent through Discogs, and the fact that there were a couple of Large Pro beats on here sold it to me (and the fact that it was only a cent on Amazon). Unfortunately, this is a prime example of excited anticipation giving way to a perhaps inevitable disappointment: this ain't great. However, for Large Pro completists and those interested in the more commercial side of hip hop in the very early '90s, this may be something that you will be interested in hearing.

To be fair, the cover art alone did ring a few alarm bells, featuring The Don in various 'party' style poses (his get-up is straight wack), but then you can't judge a book by its cover. There is very little information out there on this release which doesn't surprise me as I had never come across it before or even heard of it, and this is perhaps indicative of the fact that this is indeed a lukewarm release at best (and I mean at best). I assume that this may have been attempting to reach a similar audience as releases such as the UMCs' 'Fruits Of Nature', although this record pales in comparison to what is in my opinion one of the strongest pop rap/daisy age records of the era.

The Large Pro contributions are worth hearing, although relatively forgettable. Given that this was released in 1991, I had high hopes of 'Breaking Atoms' style beats that would compensate for below par skills on the mic, but this was not to be. 'On Tour' bops along pleasantly enough with a funky little guitar loop and a nice variety of interpolations as the song progresses, but it lacks punch and the necessary depth to get you hyped. 'Step Aside' is the other Extra P contribution, and its passable, although spoiled by almost two minutes of shouts and 'heys' at the beginning of the cut. Once it finally gets into it, the snares are crispy enough to maintain your interest and as with the aforementioned track there is a nice variety of samples that keep the groove moving.

Elsewhere on the album there is some production from Wolf & Epic, but in all honesty, none of the other cuts have drawn my attention and I do not anticipate this being an album that I come back to regularly, if at all. Still, as a relic of a time gone by in hip hop and with the added bonus of the two Large Pro cuts, I guess I can't complain for a cent plus shipping: let me know what you think.

Wake Up The Party

Marco Polo ft. Masta Ace - Cut Of The Year So Far?

Obviously there is loads of hype surrounding the forthcoming Marco Polo 'Port Authority' album that sees a release in mid May on a rejuvenated Rawkus Records. I got put onto this track via WYDU, so you can check in there for the video. Whilst doing a little time on YouTube, I did unearth a little 'making of' video of 'Nostalgia' which means I can put this up without feeling like a total biter:



I love this track, and it has got me seriously amped about a release that I am unsure about at this stage: is it going to be as good as the hype suggests? I've avoided getting an advance internet download because I want to cop this when it's released and pass judgement at that stage. For the moment though, 'Nostalgia' is in heavy rotation: the big drums, chilled out summery vibe, Ace's deep verses and fantastic scratch chorus section have plastered a smile to my face for at least the last 48 hours. Definitely my favourite single of 2007 so far, and almost reason enough in itself to get the album when it is officially released.

When They Reminisce...

I haven't given a heads up on any new blogs on the scene for a while now, but Eric and Rasul's new blog is one of the best out there and deserves a special mention. Indepth writing, tons of albums drops and an honest and knowledgable approach to hip hop without any of the bullshit mean that this has quickly become a part of my daily rounds. Big up fellas, keep it going.

Pay 'Em A Visit

1994... The Year That Killed Hip Hop?

1994. Whenever discussions of the best years in hip hop are raised, '94 inevitably crops up, and with good reason. Along with a plethora of fantastic releases ('Hard To Earn', 'The Sun Rises In The East', 'The Main Ingredient', 'Stress: The Extinction Agenda', 'Word...Life' being just a handful), the hip hop world was of course rocked by two of the finest albums in its history: 'Illmatic' and 'Ready To Die'. When approaching every music fan's arbitrary 'best albums of all time' lists, it would seem nearly impossible for any hip hop head to not consider either of these two releases such is their consistent quality (beats and rhymes) and the way that they influenced the game. But in the long run, could it be tentatively argued that these albums specifically had a detrimental effect on the genre, and that a steady decline in quality was inevitable from this point? Let's see...

I remember a chat that I had with my friend Geoff a year or so ago in which we were discussing the work of John Coltrane whilst listening to 1957's 'Blue Train', a staple of the jazz canon that I imagine is celebrated by aficionados of the genre in the same way that 'Illmatic' or 'Ready To Die' are within hip hop circles. During this talk, Geoff regaled a story that feels fitting in line with the subject matter currently at hand: it is rumoured that Coltrane essentially killed jazz, such was his ability on the saxophone. His musical genius was beyond question, but in unleashing it to the world at large, he set a benchmark that was simply too high for later artists to match. Now I don't know enough about jazz to know whether this is true or not, but even with my limited subject knowledge, it seems that this era in jazz's history is celebrated much in the same way as hip hop's golden years, and I can imagine jazz purists approach anything that followed with the same sense of scepticism/disappointment that plagues devotees of hip hop who long for joints like the ones they heard 'back in the day'.

In applying this theory to hip hop, Biggie and Nas seem to be the most obvious figureheads, but it would be foolish to treat them in exactly the same way as each contributed something very different to hip hop. However, what they both achieved was a maintenance of underground credibility teamed with massive commercial success that was relatively unprecedented. Although rap albums of the past had achieved platinum sales figures ('The Great Adventures Of Slick Rick' as just one example), none had done so with the New York-centric hardcore aesthetic put forward by Nas and Big. It still astounds me that 'Ready To Die' reached such a wide audience: there is no disguising the brutal, violent and misogynistic message that Christopher Wallace puts forward on this record and yet it went on to sell over four million copies before the dust around its release had even settled. Of course, this was not the first time that ghetto music had made it into so many American homes, as earlier successes from the west coast and elsewhere had proven, but this was hardcore, unabashed NYC hip hop at its finest being blasted out of homes, cars and clubs in places where it had struggled to find relevance before.

Nasir Jones is a slightly different kettle of fish. Whereas Biggie was the living, breathing incarnation of the darkest elements of ghetto existence, Nas was the urban poet weaving highly literate narratives that detailed the world that he saw around him and his journey through it. Backed by an impossibly impressive production team, 'Illmatic' is my preferred record of the two under discussion, a perfectly contained and cohesive work that has inevitably ended up as the albatross around Nas' neck. What its success provided him with was the opportunity to access a more commercial audience, his role as 'ghetto poet' highly marketable and intensely alluring, and it doesn't take me to tell you what he has achieved as the years have rolled by.

The dawn of the 'superrapper' was now well and truly consolidated. Both Nas and Big embodied the street savvy attitude and elusive sense of style that have proven to be the hallmarks of a successful and commercially viable rap artist, and they represented a city that was the home of hip hop. This establishment of a rap superstar laid the foundation for the less than great rappers of the future, and changed the game forever. In this sense, Big and Nas could be held responsible for the decline of hip hop and its transformation into a multi-billion dollar industry that feels so far removed from the 'realer' days of old.

Let's not blame them though. I prefer to think of them in line with the theory put forward with regards to Coltrane: these releases were simply so good that it would prove nearly impossible to replicate their genius in the future. Coming at the right time in the genre's history, you can almost sense that hip hop was destined to reach this point (although perhaps this is only with a retrospective eye), and both are representations of the genre at the pinnacle of its creative output. Maybe Nas and Big did kill hip hop, but what they left in their wake were two sensational works that still sound fresh, inspiring and raw to this day. Dig 'em out and treat yourself: hip hop is unlikely to ever be this good again.

Holiday Hits Part 2 - Marvin, Gil & Amy

Not one to disappoint, here we go with part two of FDB's 'Holiday Hits'. I've been trying to get into a little bit more soul and jazz recently, inspired by blogs such as Souled On Music. Of course, this is also the breeding ground of samples for hip hop, so the enjoyment is two-fold: I get to check out some great records as well as pick out the constituent parts that may have come to be utilised at a later date and in a different musical context. As a result, I picked up a few bits and pieces whilst away.

(Forewarning: more holiday gloating ahead)

Whilst sunning yourself on a terrace that overlooks the Mediterranean, the hardest of the hardcore rap music seems a little inappropriate, and I got a lot of pleasure out of the following records as the evenings set in on the Cote D'Azur (sick of it yet?). Allow me to share...

Moving Down The Line - Marvin Gaye












'Trouble Man' has always been one of my favourite Marvin Gaye tracks, and it is only recently that I realised that the song was part of a soundtrack, scored by Gaye, for the blaxploitation film of the same name. What this record shows is his ability to embrace a range of musical styles beyond his earlier output, and the music lies more within the realms of funk and jazz here than with any other work that he recorded. Very few of the cuts feature Marvin's beautiful voice which I feel is a shame because it would have worked well soaring over the dramatic soundscape below, but of course this is a soundtrack to a film. The title song is still my clear favourite, but 'T Plays It Cool' gets itself into a tasty funk groove and 'Don't Mess With Mister T' is atmospheric and spacious. Dim the lights, sit back and soak it up..

Trouble Man

Ever Feel Kind Of Down And Out? - Gil Scott-Heron
















I feel relatively ashamed that I haven't got into Gil Scott-Heron earlier, and his influence on hip hop is undeniable (could he be considered the first 'rapper'?). What's particularly interesting about this record, recorded in just two days in 1971, is the range of musical textures and subject matter here, with Gil ranging from angry and revolutionary ('The Revolution Will Not Be Televised'), positive and uplifting ('Lady Day and John Coltrane') to pensive and tortured ('The Sign Of The Ages'). The musical backdrop is similarly varied, and it makes for an exciting and engaging listen. I think I prefer the more upbeat numbers, but the album in its entirety is excellent.

I don't know much about the context of this album within his career as a whole, and would greatly appreciate any information on similar works within his catalogue or any other recommendations. I'm at the beginnings of my soul journey: point me in the right direction brothers and sisters.

Pieces Of A Man

Around The Way Girl - Amy Winehouse
















The musical cynic in me generally avoids big album releases, the hype too often overwhelming the music itself. It's ridiculous I know, and 'Back To Black' is a fine demonstration of why this policy does not always work. I'd seen a few people mentioning this album on the hip hop blogs, so during one of my afternoons in Fnac I thought I'd give it a try and was absolutely blown away by it. The manner in which Salaam Remi and Mark Ronson have captured the essence of Motown records from the '60s is staggering, and such is the quality of the album that it goes beyond a simple rehashing of the past and feels fresh, warm and lively.

Winehouse's voice is sensational, full of emotion and power. My Dad noted a similarity with Dinah Washington whilst we were away, and I read this afternoon that she actually states Washington as one of her main influences (well done Dad). Check her out in full swing:



I'm not even going to post a link for this as it is so widely available that it feels pointless, but you should definitely track this down and enjoy these little slices of perfectly crafted pop soul. She's a North Londoner as well: she must be great.

Back onto regular album reviews and the like from here on in; I'm back in work on Friday so reality is gradually starting to creep in... take it easy.

Catching Wreck With Intellect - Nasty Nas

Quick heads up on a tune that I must have listened to at least 30 times today (still on school holidays), the original demo version of Nas' 'It Ain't Hard To Tell'. I got this care of Stretch Armstrong over at Konstant Kontakt: if you haven't visited yet you should get your arse over there because Stretch has got loads of audio from shows back in the day that epitomise the quality of hip hop in the early '90s. I downloaded all three of these original demos, but the clear favourite for me is 'It Ain't Hard To Tell' with completely different lyrics and a slammin' beat which still utilises 'Human Nature' as its key sample source. Cop it here and get a load of it.

FDB Returns - Holiday Hip Hop Hits

Having spent the last week and a half on the sunny shores (most of the time...) of the south of France, I'm glad to be back at home and have been itching to get back into the cosy world of hip hop cyberspace. I had quite a few ideas for posts whilst I was away, but I'm going to kick things off with a post split into two parts that will detail my holiday listening/buying habits. Of course, I listened to loads of stuff, but these are the albums that for whatever reason received more airtime than the others. Tomorrow's focus will be on soul/jazz, but for now, let's get into the hip hop...

Flippin' Like Species - LL Cool J
















Man, where do you start with LL Cool J? James Smith has seen it all in hip hop, and along with only a handful of others, has managed to carve out a career of serious longevity in rap music. It's fair to say that his output has been a little hit and miss, but LL was there all the way back in the innocent mid '80s, still kicking it through the more hardcore aesthetic of the early and mid '90s and then onto teaming up with R 'n' B female vocalists and suchlike as the jiggy era dawned. The man is still recording as well, although I'm not really interested in checking out any of his material beyond 1995's 'Mr. Smith', the first of today's albums. Granted, this is by no means a sensational release, but it is rewarding in places and had me bopping my head whilst basking in the rays of the Med (it's a hard life I know).

Let's take this one step at a time. Of course, the album has the obligatory radio hits in the form of 'Hey Lover' and 'Doin' It', the former of which is trash, but 'Doin' It' is pretty much as good as any crossover hit from the era with bangin' production and a pleasingly hard edge. The overly sexy shit on the lyrical side of things does grate, but I don't have a problem with this song and although I'm a little loathed to admit it, I like it. The strength of these hits commercially was phenomenal, and amazingly pushed the album to double platinum status. Even I had it on tape when it was released: the exposure was substantial due to these two cuts (to put this in context, I was a spotty thirteen year old at this stage who had had little proper exposure to hip hop and was only just beginning to go out and buy it for myself).

What I genuinely enjoy about this album is that aside from these crossover hits, there is some pretty solid production elsewhere that is largely handled by the Trackmasterz. Naturally, there is a fairly large dose of cheesy chorus hooks, but the beats themselves are pretty dope: the 'Who Shot Ya (Remix)' being the most agreeably hard-hitting. Other tracks are well worth a listen as well: 'Mr. Smith' features some era-defining sleighbells; 'Life As' won't fail to get your head nodding and 'God Bless' does a good job of flipping the heavily used Vickie Anderson break. Beyond these, my personal favourite is 'Hollis To Hollywood', where LL muses on the use of metaphor in the rap game and cleverly weaves together references to films backed by the best Trackmasterz's beat on the album. I love the way that the double bass kick in the last quarter of the bar in the intro leads you into the verse section, and the lightly crashing cymbals in the background give the track depth and flava.

In addition to this, LL's verses over the album are enjoyable, if not sensational. Again, the sexual references do grow tiresome after a while, but the delivery is complex enough to keep you engaged and there is no denying that the man has charisma and style, the hallmarks of any great MC. You have to admire his ability to stay current, and even appearances from Fat Joe, Keith Murray and Prodigy demonstrate that even though 'Mr Smith' was released ten whole years after LL's first release, he could still hold his own alongside his big name contemporaries in '95. If you haven't heard this album in its entirety then give it a go: it ain't going to rock your world, but you may find some joints that tickle your fancy.

Mr Smith

The Most Underrated Album Of All Time?

I've already done a post on Da King & I's slept on classic 'Contemporary Jeep Music', so no need to go into any detail here. However, I was still killing this album on the holiday: fun, witty, funky, amazingly consistent, intelligent... this is my current nomination for most underrated album of all time. From front to back this is an absolute banger and if you're still sleeping on it then resolve the situation immediately and hit the link.

FDB Da King & I Archives
Contemporary Jeep Music





Que La Force Soit Avec Toi - Cut Killer














France's equivalent to HMV/Virgin Megastore is Fnac, and every time I visit the continent I enjoy a couple of hours flicking through their selections and listening to bits and pieces as you can walk up to listening posts, scan the barcode and check out 30 second clips of each of the songs on the selected albums. I also like to try to walk out with at least one or two French releases as well, otherwise I may as well be surfing Amazon from the comfort of my own home. Cut Killer has already featured here on FDB, and this is another of his mixtape series that is well worth owning. There's isn't much to say here that I haven't said already, but this is a two disc mixtape of quality boom bap beats blended with style. The tracklisting (click the second picture) only tells half the story as there are plenty of other instrumentals and acapellas dropped throughout the course of the mix and the result is a bangin' selection from front to back. Enjoy.

Cut Killer Mix Disc 1
Cut Killer Mix Disc 2
FDB Cut Killer Archives

C'est Pour Toi - Onra & Quetzal

The final album for today is something that I had never come across before and I imagine will be totally new to the majority of you. The great thing about actually flicking through racks of CDs rather than just surfing on the net is that something can catch your eye that would have otherwise have passed you by entirely, and these can often turn out to be some of the most exciting things that you buy. I am not suggesting that this is a sensational release, but it is certainly a demonstration of well-crafted beat-making that will receive very little exposure outside French shores. Ostensibly, the 'tribute' in question is to soul records of the sixties and seventies that form the basis of the samples here, but this could also be seen as a Dilla tribute, as this clearly draws its influence from 'Donuts'.

Featuring 35 beat skits with plenty of chopped up soul vocals and a progressive edge, Onra & Quetzal do a very effective Dilla impersonation here, clearly in line with the current trend for rich, soulful samples and slightly more abstract constructions care of a big stack of records and an MPC. This lacks the creativity of 'Donuts', but it is an enjoyable listen that demonstrates some real talent, and I hope to catch wind of more of their production work in the future. Although this was only released at the end of last year, I'm throwing it up because these guys deserve exposure and as yet, this is only available on the Fnac website and not on Amazon. I've put the link to the website below to make it as easy as possible: if you like it, bumble your way through the registration process and cop it.

Tribute
Onra & Quetzal - Fnac website

That's it for today, tune in tomorrow for the second installment of my holiday hits series which will focus on some soul and jazz... laters.

What Are You Sayin'? DJ Premier

Such is the output of one of the genre's most prolific DJ/producer that there are inevitably some 12''s that slip under a lot of people's radars. As a result, today's post features a couple of 12''s that I have stashed away in the vaults that may be of interest to you...

DJ Premier Introduces Assylum Seekers - Check My Style b/w Gettin' Mani















I picked this up around 2002 at a record shop in central London called Selectadisc. This came in a blank sleeve and as you can see from the shots of the vinyl, this is likely to have been a low budget release that probably only saw a limited number of pressings. This is affirmed by the fact that this 12'' does not even appear on Premier's Discogs and by the fact that I can find absolutely nothing about it on the internet. 'Check My Style' is undoubtedly the better of the two cuts, with a relatively classic Premier sound featuring a chilled piano loop, heavy beats and little else. I am not really that keen on the b-side and to be honest, it doesn't even really sound like Premier production. Lyrically, the Assylum Seekers are by no means awful, but there really isn't that much to grab you here and ultimately although they do the beat justice, the real star of this release is of course Premier's work on the boards. If anyone has any information on this then I would greatly appreciate it, and if you didn't know that this existed then show some love and drop a comment: I suspect that this may be a blog exclusive.

[Note: It has become clear from comments that Premier did not produce this 12'' and in fact it looks like there may have been a little shady business on Empire's part here... the search for lost Primo beats continues]

Just-Ice - Gangstas Don't Cry b/w Just Rhymin' With Kane ft. BDK















The next 12'' for today is definitely less rare, as it features on the 'Fatbeats: Volume 2' collection released in 2002 and features two veterans of the game, Just-Ice and Big Daddy Kane. I find the a-side a little unispiring, a simple bass hook and drums with Just-Ice ripping verses over the top. To be honest, this feels a little like one of those beats that Primo probably puts together in his sleep, and as such it feels relatively mediocre. The b-side is my preferred cut on this 12''; the beat has a better vibe to it and the appearance of BDK provides the song with a little variation that serves the song well. Overall, this is a decent enough release but it is by no means the best work that any of the three artists who feature on it have ever produced. Still, for all you Premier junkies out there, this is a worthy addition to your collection.

WGHH Radio - FDB Tuesday Night Slot

I've been pushing this relatively hard since about a week and a half ago, so this is the last time I'm going to plug the show on the blog (maybe). I'll be hitting the airwaves again tonight at 11pm GMT and at 4am early on Wednesday morning over at WGHH, so check it out and let me know what you think. It is relatively time consuming putting the show together, so lack of listeners/feedback means I may not bother in the future: let me know if it's worth my while.

FDB Goes On Holiday

Tomorrow afternoon I'm heading off to the sunny shores of the south of France for a well deserved break from work, and as a result FDB will be on a hiatus until the 15th April. Stay well over the Easter weekend and I'll catch you in a week and a half: laters.

Sconeboy Mix

I've put quite a lot of work into the blog this week, so today I'm just going to throw up Sconeboy's latest mix rather than a full post. Fortunately for you this is no bad thing: this is straight bangin'. Here's the tracklist:

1. Justice System - Dedication To Bambaataa (Diamond D remix)
2. Yall So Stupid - Van Full of Pakistans
3. Red Hot Lover Tone - Give It Up (Diamond D remix)
4. Bush Babees - We Run Things (It's Like Dat)
5. The Roots - Push Up Ya Lighter
6. Large Professor - ijuswannachill
7. De La Soul - Dinininit
8. Buckshot Lafonque - Breakfast At Denny's (Rap Version)
9. Crooklyn Dodgers - Return of the Crooklyn Dodgers ('95 version)
10. Busta Rhymes - So Hardcore
11. Heather B - If Heads Only Knew
12. J Treds - Make It Happen
13. Lords of the Underground - What I'm After (Remix w/ Keith Murray)
14. Pete Rock - 914 (ft. Sheek Louche and Styles P)
15. Gangstarr - The Piece Maker
16. Rakim - When I Be On The Mic
17. M Boogie - Patience (ft. Born Allah)
18. Erick Sermon - Stay Real
19. Rampage - Beware Of The Rampsack
20. Mobb Deep - Survival Of The Fittest (remix & original)
21. Street Smartz - Metal Thangz (ft. O.C. and Pharoahe Monch)

Quality selections and tight mixing: this is excellent. Stay tuned this week, we may see another Sconeboy selections post before too long...

Sconeboy March '07 Mix

WGHH Radio - From Da Bricks Tuesday Night Slot

I just put the finishing touches to my latest radio show which will go out on Tuesday over at WGHH. I know it's weak hearing someone moan about feedback, but it does take me a little while and if I don't feel like people are listening to it then I probably won't bother. If you've checked it over the last week then please let me know what you think. Have a good week y'all...